Perfectly adorable

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

Facing any of Tarkovsk's films in the eyes of the faithful promises awe-inspiring aesthetic journey that can tremble the angels far beyond the reach of the soul. According to those who can not speak very positively, the same films may be accompanied by intense confusion, distress and downright antipathy. (Sealed Time / Tarkovsky)Tarkovski became a student of Mikhail Romm when he entered the Moscow Cinematography Institute. When he received his diploma in 1961, he was praised for his name in the film Cylinder and Violin.For Tarkovsky's Cylinder and Violin, he says, "I did not try eclecticism before Ivan's Child was ruled before I started working at Mosfilm."In an interview with Ivan about his childhood, Tarkovski said, "I wanted to convey all the hatred I felt about the war. I chose childhood because childhood is the most contradictory state of war. It is not built on a plan in the film, it is based on the opposition between war and the child's feelings. This whole kid's family was murdered. When the movie starts, the boy is in the middle of the war. " Tarkovski tells the relationship between a cylinder and a Kemanda worker and a child. This film also reveals the unusual camera angles and complexity that Tarkovski will have at the peak of Ivan's Childhood. In terms of character and event cycle, Cylinder and Violin will form the basis of Tarkovski's poetic cinema understanding. The film and the metaphor of the dreams and dreams we encounter, Apple and indispensable Tarkovski cinema.For Tarkovsky, reasoning and even ethics requires that the formal logic be transformed into a "logic of the dream"; because according to Tarkovsky, the poems of dreams represent "one of the ways of being in the world's consciousness" and support our efforts to "face reality". (Sculp-ting in Time, p.21)  Does the rhythm of life hinder your imagination?"What shall I do with you? Too much imagination. "The violin teacher tells Sasha in front of the metronome device, "What will I do with you too much imagination" presents an impressive metaphor for Sasha's dream world and our rythmic sense of real life.In the film, Sergei is a role model father who protects Sasha and her from bullies. The story of the roller driver and the violinist.Cylinder and Violin is a short story of Tarkovsky's visual composition filled with the mirror-reflection notions, the metaphorical atmospheric structure, the time of music and the painful yet sweet accompaniment of the main.Tarkovski writes in 1960 with Andrey Mikhalkov Koncalovski, a screenplay. Completed in 1961, the film is awarded first prize at the New York Student Films Festival. After Mosfilm Studios decided that director Eduard Abalov would not continue Ivan's Childhood, Tarkovski was hired to complete the project.

I liked this short film because of the reason that from the middle till the end, it is absolute perfection. The story is about a kid who is a music student and who befriends a Man who rides a Roller. The part worth concentrating is the developing of friendship between the two. PROS:The kid looked apt in his part. The way that he starts to take interest in the work of the man and which led to the development of their friendship is good. The story also ends properly. The introduction of some characters in the starting was also good. They helped in moving forward the film and made the base for the character of the kid.MESSAGE: "Friendship is a beautiful aspect of life."VERDICT: "A recommended watch."

The Steamroller and the Violin is a nice little film that gains its underlying traction from being about two people who connect on a human level among others in this small Russian village who are mean (i.e. bullies) or just impersonal (a music teacher) or images of destruction and decay (a wrecking ball demolishing a building). There's even a few moments in the 43 minute running time where its 20-something director Andrei Tarkovsky displays some of the brilliance that one would see later on in his career. One such scene, a memorable one if maybe a little too short and strange, is where the boy Sasha (Fomchenko) is looking at a broken or cracked mirror in a store window and we see a kaleidoscope of images, of Sashaa, of his surroundings, of fragments of things and objects, and it comes closest to something out of Vertov in terms of the splicing and dissection of an image.The problem though in looking at this film today is context. If one can look outside the fact that one of the great directors of world cinema made this as a student film to get his diploma- not a true-blue revelation of his genius but a foreshadowing of his technical skill and sensitivity to actors- then one can see it as a decent little movie about unlikely friendship between a blue collar worker and a lonely little kid who each have their own knack at something. I'm sure if I saw a fellow student filmmaker make something like this when I went to college I would be impressed, but only because I was taking this and this person's previous work, a super-short adaptation of the Killers, as his only creative output.In being more critical, while the story isn't bad the performances are only average at best, with Fomchenko and Zamansky as the duo being only engaging enough as to not get too bored. It's mostly due to seeing some creative direction and little moments of beauty like the Steamroller listening to the Violin, so to speak, that one is really drawn in to the emotion going on. It's a minor work that doesn't say a whole lot that is truly great about Tarkovsky (or, for that matter, his co-writer and future director Konchalovsky), and seeing it once is enough... then again, seeing that last shot, the over-head of the boy coming up to the steamroller and riding away with Sergei in a moment of bliss, is a truly amazing image to be looked at repeatedly.

A foreshadow of things to come, which in its own right is a little-known jewel of Russian and world cinema...I would advise any beginning Tarkosvskologist to view this film twice: before and after viewing his masterpieces. Then, they'll understand...